{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/80905"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/80905","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"The Spirit is the Music: Osun’s Aesthetic Manifestation in Reggae-Dancehall Music","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Ogunbowale, Mopelola; 0000-0001-6884-7628"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Foster, Cecil","Transnational Studies - American Studies","Africana and American Studies"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-10-29T16:48:01Z","date_published":"2019-10-29T16:48:01Z","updated_at":"2026-07-27T19:05:25Z","subjects":["African studies","African history","Caribbean studies"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/80905","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Foster, Cecil","Transnational Studies - American Studies","Africana and American Studies"]},{"key":"dc:creator","label":"Author","values":["Ogunbowale, Mopelola; 0000-0001-6884-7628"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-10-29T16:48:01Z","2019","2019-08-07 13:18:54"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["African studies","African history","Caribbean studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/80905"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","The Spirit is the Music: Osun’s Aesthetic Manifestation in Reggae-Dancehall Music examines the manifestations of Osun, a Black Goddess of West African ancestry in Konto music, a form of reggae-dancehall music produced in Ajegunle, an urban slum located in the Ajeromi-Ifelodun area of Lagos, Nigeria since the 1980s. Combining ethnographic field work (that includes oral and focus group interviewing) with a close and intertextual readings of sacred texts, oral traditions, song lyrics, song videos, journal articles and books; this dissertation makes two central arguments. The first is that Osun’s cosmological manifestations as water, womb, goddess of fertility, malevolent and benevolent force, as documented in Yoruba and other African derived religions, represents Black cultural production as intercultural, resistant and feminist. Consequently, from Osun cosmologies, The Spirit is the Music derives three aesthetic manifestations of Osun: aesthetics of cyclicity, creative destruction, and female power and authority. These aesthetic manifestations are evident in Konto music as interculturality, creativity, resistance and (female) power and authority. The second argument is that these attributes of Osun manifest in Konto music through its aesthetic and rhythmic connections to Jamaican reggae and dancehall music, its critiques of the post-colonial Nigerian state, and also, through its inclusion of women as creative agents in music making and performance."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["The Spirit is the Music: Osun’s Aesthetic Manifestation in Reggae-Dancehall Music"]}]}],"canonical_facts":{"dc:contributor":["Foster, Cecil","Transnational Studies - American Studies","Africana and American Studies"],"dc:creator":["Ogunbowale, Mopelola; 0000-0001-6884-7628"],"dc:date":["2019-10-29T16:48:01Z","2019","2019-08-07 13:18:54"],"dc:description":["Ph.D.","The Spirit is the Music: Osun’s Aesthetic Manifestation in Reggae-Dancehall Music examines the manifestations of Osun, a Black Goddess of West African ancestry in Konto music, a form of reggae-dancehall music produced in Ajegunle, an urban slum located in the Ajeromi-Ifelodun area of Lagos, Nigeria since the 1980s. Combining ethnographic field work (that includes oral and focus group interviewing) with a close and intertextual readings of sacred texts, oral traditions, song lyrics, song videos, journal articles and books; this dissertation makes two central arguments. The first is that Osun’s cosmological manifestations as water, womb, goddess of fertility, malevolent and benevolent force, as documented in Yoruba and other African derived religions, represents Black cultural production as intercultural, resistant and feminist. Consequently, from Osun cosmologies, The Spirit is the Music derives three aesthetic manifestations of Osun: aesthetics of cyclicity, creative destruction, and female power and authority. These aesthetic manifestations are evident in Konto music as interculturality, creativity, resistance and (female) power and authority. The second argument is that these attributes of Osun manifest in Konto music through its aesthetic and rhythmic connections to Jamaican reggae and dancehall music, its critiques of the post-colonial Nigerian state, and also, through its inclusion of women as creative agents in music making and performance."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/80905"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["African studies","African history","Caribbean studies"],"dc:title":["The Spirit is the Music: Osun’s Aesthetic Manifestation in Reggae-Dancehall Music"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:25Z"}